데빌맨 크라이베이비의 철학: 도덕적 공황과 이원론

### 데빌맨 크라이베이비의 철학: 경계, 이원론, 도덕적 공황에 대한 탐구
* 👿 이 프로그램은 **'도덕적 공황'과 '위협 구성'**이라는 개념을 사용하여 매스미디어가 어떻게 위협을 구성하고 특정 집단에 대한 사회적 통제를 정당화하는지를 탐구합니다.
* 💥 료는 미디어를 조작해 악마에 대한 도덕적 공포를 조성하고, **'악마'의 정의를 표준에서 벗어난 모든 사람**을 포함하도록 확장합니다.
* 🌍 위협 구축 모델에 따라 료는 **미국의 외교 정책 약점을 조작**하여 제2차 세계대전을 시작합니다.
* ☯ 데빌맨 크라이베이비는 처음에는 **이원론적인 세계관**을 제시하지만, **선과 악의 경계를 모호하게** 함으로써 이에 도전합니다.
* ❤ 악마에게는 감정이 없다는 료의 주장에도 불구하고 이 드라마는 **사랑과 감정을 느낄 수 있는 악마**를 묘사합니다.
* ❓ 이 프로그램은 우리가 타인에게 붙이는 꼬리표와 흑백 사고의 결과에 의문을 제기함으로써 **미디어의 희생양, 위협, 선과 악의 본질에 대해 어려운 질문**을 던집니다.

데빌맨 크라이베이비는 도덕적 공황, 위협 구성, 이원론적 형이상학을 탐구하며 선과 악의 경계에 도전합니다.

Hey Wisecrack, Jared again. And today, we’re taking a look at the show
that dares to ask the question: how much body horror can we realistically animate in twenty-two
minutes? I’m talking about Netflix’s devilishly
good anime offering, Devilman Crybaby. While you may know it by its reputation as
‘that show with lots of incredibly violent humping, ‘cartoon boobs, ‘and incredibly
violent cartoon boobs,’ Devilman Crybaby has some deep things to say about metaphysics,
the media, and even international relations. So, welcome to this Wisecrack Edition on The
Philosophy of Devilman Crybaby. As always, spoilers ahead. And by the way, we never get it right if you
want dubs or subs, so we literally flipped a coin, and it landed on dubs, so be happy. But before we get into the recap though, I
just want you all to know we’re working

hard trying to put together an anime podcast. It’s in very early stages, but a lot of
our best video ideas start from podcast discussions, so subscribe to our channel Wisecasts to get
a closer look into our creative process. Anyway, on to the recap. Akira, a teenage boy known for crying over
almost anything, is living with the Makimura family while his parents travel the world
providing free medical care. When he tries to save his crush/housemate
Miki Makimura from what looks like a gang, Akira is interrupted by his trigger-happy
adoptive brother and childhood friend Ryo, recently back in Japan after a research project
in South America. Ryo tells Akira what he learned abroad; namely
that devils are real and that they are possessing human beings. Trying to collect proof of his theories, Ryo
takes Akira to a drug-fueled sex party called ‘Sabbath,’ where his bloody rampage actually
succeeds in summoning a group of demons, one

of whom tries to possess Akira. That demon, Amon, fails to take over Akira
completely. Akira gains the strength and power of a devil,
but is still in control of his mind and body. “You're a man who possess both the body
of a devil as well as the heart of a human. Devilman.” While Ryo and Akira initially plan to use
his powers to fight the devils, the show gradually reveals that there’s more to Ryo’s plan. When the demon threat is revealed to the public,
Ryo gains immense influence with world leaders, turns on Akira and promotes policies which
promotes the murder of not only devils, but millions of human beings. This all comes to a head in the big reveal:
“You see, I’m Satan.” Yep. Followed by a massive human-devil-Devilman
battle culminating in the end of the world. So, how did we get from a bad night at the
club to the apocalypse?

The answer has to do with two distinct but
related concepts: “moral panics” and “threat construction.” Sociologist Stanley Cohen argues that mass
media constructs a “moral panic” directed at certain groups of people by portraying
their behavior as deviant. Society labels these people a threat, which
justifies excessive social control and policing over the “demonized” population. As he put it, “[The media] informs us about
right and wrong, about the boundaries beyond which one should not venture and about the
shapes that the devil can assume”. Devilman Crybaby references a few well-known
moral panics. For instance, local news falsely identifies
the young rappers as members of a gang. The mistake - and their resemblance to the
constructed stereotype of violent youth nearly gets them shot by police, even as they try
to cooperate with the officers. The show also references the archetypal moral
panic: witch-hunts.

For her almost supernatural speed, Miki is known to the media as ‘Kamioka's witch of track and field.’ As a result, the mob calls her a witch! She's an outsider! before killing her and burning her body. More to the point, though, is Ryo’s use of mass media to create a moral panic over devils. After triggering Koda’s transformation at the track meet and causing a massacre, Ryo uses his livestream to sow fear and mistrust among the general population: Demons exist... There could be one right next to you.” Taking advantage of his academic title, Ryo claims to be merely a reporter of the “facts;” in fact, he uses multiple media outlets, including social media and traditional broadcasting, to promote as much fear, paranoia, and violence as possible. In this battle against the demons, I'm sure that we will win once again. As the end of the world draws closer, Satan/Ryo encourages more and more violence by expanding

the definition of ‘devils’ to include anyone deviating from the social norm. He falsely implies that deviant behavior is a proven indicator of the potential to turn into a devil. So you are saying anyone dissatisfied with society can potentially turn into a demon? That's correct. So, then, in order for us to defeat the demons— We must eradicate them before they become demons. He pulls off the same feat at the international level through a process scholars call, “threat construction.” Certain camps of foreign policy theorists argue that many international threats posited by national leaders are largely ‘constructed’ -- that is, issues become threats when people in positions of power define them as such. Like creating a moral panic, threat construction involves identifying some ‘other,’ whether that be another country, an organization, etc., and defining its otherness as a danger. The other is portrayed as not merely a physical threat, but a threat to the very identity

of the domestic state. Political scientist David Campbell explains
that, in the process of threat construction, “[The other becomes] the barbarian who stands
in opposition to the ‘civilized’ self”. Following this model, Ryo manipulates inherent
weaknesses in US foreign policy to start WWIII, beginning a nuclear conflict which wipes human
life from existence. Ryo takes part in a high-level government
discussion about how to handle the threat posed by the devils. By this point, world leaders have bought into
Ryo’s logic completely and have become distrustful of one another: We must be wary of the movements
of neighboring countries. There's information that they've already been
taken over by the demons. In response to the situation, the US government
reflexively identifies Russia as a ‘geography of evil’ (a term coined by Campbell), and
declares that devil possessions are the product of a Russian bioweapon: The US department
of national defense closed its borders in

response to the possibility of demons being
Russia's biological weapon. In Devilman Crybaby, the US and Russia respond
to the devils much as real-world governments respond to terrorism. Because the threat is ‘barbaric’ and a
threat to civilization, no measure is too extreme to stop them, including nuclear war:
Annihilate this demon insurgency that threatens our capital!” The show explores the dangers of throwing
up artificial boundaries between groups. The bloodshed and heartbreak that fills up
the last few episodes are a direct result of the public’s willingness to buy into
Ryo’s ‘us vs. them’ mentality. Maybe you can run faster than people because
you're a demon! You think you're better than the Japanese? This preoccupation with boundaries is also
reflected in the show’s exploration of what’s called Dualist metaphysics”. So what does that mean? Dualism posits that reality is binary or oppositional
in nature, composed of two eternally clashing

irreconcilable forces, such as good and evil. One of the classic examples of dualistic philosophy
is the ancient religion of Manichaeism. As religious scholar Todd Calder explains,
“According to Manichaean dualism, the universe is the product of an ongoing battle between... good and evil substances which are in a constant
battle for supremacy. At first glance, the show appears full of
binary oppositions which will never be resolved. For instance, Ryo is distinguished from Akira
by his inability to shed tears, which serves as a visual cue for the ability to feel emotion. Why would I cry? I'm not sad. It was going to die anyway. The show also sets up a sharp divide between
fear-based violence and the Makimuras’ Christian pacifism: One of the people who was following
Jesus pulled out his sword, attacked the soldier, and cut off his ear, so then Jesus said to
him, 'Put away your sword and return it to

the sheath.''' Ryo is a dualist to the core. He describes devils as fundamentally lacking
in the human capacity to feel: Devils have existed on earth since long before humans. They are ferocious, extremely savage, and
have no emotions. What’s more, the show takes that Manichean
idea of a battle between “good and evil substances” very literally. Ryo first discovers the existence of devils
when the corpse of his formerly-possessed professor is revealed to weigh twice the
size it was when he was alive. This possession, in other words, was not only
spiritual, but physical — a case of two bodies, one ‘good’ and the other ‘evil,’
fighting for the same space. The show emphasizes the material dimensions
of this battle between good and evil whenever a devil successfully takes over a human host,
often ripping apart their body in the process. Over time, however, Devilman Crybaby winds
up turning this dualistic model completely

on its head. The show reveals the socially constructed
nature of the dichotomies many of its characters take for granted, and argues that reality
is far too complex to be put in terms of black and white. As panic over the devils’ threat reaches
its tipping point, the show blurs the line between good and evil. One of the more obvious examples is Akira,
who, by his very nature, challenges Ryo’s dualistic model of the world: in one person,
he combines devil and human, good and evil. We see this when Akira, in his Devilman form,
stands between an angry lynch mob and its targets and offers up his life for theirs.
Why kill each other? If you're going to kill someone, just kill
me instead! defying the angry and fearful humans’ expectations. By contrast, we see an example of supposedly
‘good’ humans resorting to evil when the mob dismembers and burns Miki Makimura for
her public support of Akira, and other ‘Devilmen.’

Devilman Crybaby also loves to play around
with dichotomies surrounding gender and sex. The show regularly hints at an ambiguously
queer relationship between Akira and Ryo. Akira remains invested in his ability to openly
display emotion, even after being mocked for it as a child. What the heck? He's crying even though he's a boy! And in his final form, Satan embodies both
male and female sex characteristics. But perhaps most interesting is the way the
show blurs the lines between devils — stand-ins for the outcasts and scapegoats of society
— and the humans they are supposed to be so different from. Mr. Makimura eventually finds his wife and
their son, Taro, in a refugee camp. Unfortunately for him, it isn’t the reunion
he’d hoped for. Taro, now possessed by a devil, can’t control
his own hunger any longer. His father arrives to find him in his demonic
form, eating his own mother.

Mr. Makimura tries to fall back on the socially constructed dichotomy between devils and humans to reduce Taro to an evil creature and make some sense of the horror confronting him: Taro, you are no longer my sweet son. This for your own good. But in the end, he can’t help but see his human son in the devil’s crying eyes: Please don’t shoot; that’s my son in there. The show also provides plenty of evidence to exhibit that, contrary to Ryo’s claim that devils are incapable of emotion, they are actually quite capable of feeling love for each other, and, in some cases, for humans. In the episode “Beautiful Silene,” Akira gets into what can only be described as a deadly sex battle with Silene, the former lover of Akira’s devil, Amon. In the first round of their fight, Akira nearly kills Silene. But as she lies bleeding out, her partner Kaim comes to her aid, offering to give up

his life so that she can merge with his body
and live long enough to kill Devilman. “But why?” “Silene... even bloodied, you are beautiful.” Kaim’s sacrifice even causes Silene to cry. Most impressive of all is the change that
comes over Satan himself as a result of his experiences with Akira. Having revealed his true form to Akira, Satan
admits that he made the merging between him and Amon possible so that Akira would be able
to survive the apocalypse and live with him forever. Oh, Akira, let's live in the new world together. I made you merge with the champion Amon for
that very reason. What’s more, when Satan kills Akira during
their battle, he, king of the devils, experiences grief for the first time, and cries over Akira’s
body. Right now, I'm feeling something! What is this? By pointing out fluidity where we would expect
to find hard boundaries, Devilman Crybaby

asks us to think hard about the labels we
apply to others, and the potential consequences of black and white thinking. The show puts forward some tough questions:
who benefits from media scapegoating, and to what ends? To what extent does rhetoric play a role in
the identification of ‘threats,’ and what are the dangers of being too ready to draw
lines between ‘self’ and ‘other’? And, in a world where categories as basic
as ‘good’ and ‘evil’ are the product of manipulation and deliberate construction,
what is the right thing to do? As Miko, in her blended human/Devilman form
puts it: What does it mean to be a human? What does it mean to be good? If you're gonna die, hurry up and die! What is justice? What is right? And as always, peace.

Violence & Metaphysics: The Philosophy of Devilman Crybaby – Wisecrack Edition

Wisecrack

데빌맨 크라이베이비는 형이상학, 미디어, 국제 관계와 같은 심오한 주제를 탐구합니다.

악마의 힘을 얻었지만 인간의 마음을 간직한 아키라와 그의 친구 료가 결국 자신이 사탄임을 밝히고 종말론적인 전투를 벌이는 이야기를 따라갑니다.

이 드라마의 강렬하고 폭력적인 줄거리는 복잡한 철학적 사상에 대한 심오한 탐구와 극명한 대조를 이룹니다.

도덕적 패닉과 위협 구성의 영향

매스미디어는 특정 집단을 일탈적이고 위협적인 존재로 묘사하여 도덕적 공황을 조성하고 이들에 대한 사회적 통제를 정당화합니다.

'데빌맨 크라이베이비'는 미디어의 잘못된 분류가 어떻게 표적이 된 개인에 대한 폭력과 차별을 초래하는지를 보여줍니다.

이 쇼는 또한 권력자가 '타자'를 물리적으로뿐만 아니라 사회의 정체성에 대한 위험으로 규정하는 위협 구성의 개념을 설명합니다.

시리즈에서 료는 미디어를 이용해 공포와 편집증을 퍼뜨리고, '악마'의 정의를 사회적 규범에서 벗어난 모든 사람으로 확대하여 그들에 대한 폭력을 정당화합니다.

데빌맨 크라이베이비에서 위협 구성과 이원론적 형이상학의 역할

정치학자 데이비드 캠벨의 위협 구성 이론은 데빌맨 크라이베이비에서 료가 미국의 외교 정책을 조작하여 제 3차 세계대전을 일으킨 사례에서 잘 드러납니다.

이 쇼는 집단 간에 인위적인 경계를 만드는 것의 위험성과 현실을 화해할 수 없는 세력 간의 싸움으로 묘사하는 이원론적 형이상학의 개념을 탐구합니다.

또한 데빌맨 크라이베이비는 료와 아키라의 대조와 같이 해결되지 않은 이분법적 대립을 묘사하여 이러한 철학적 개념에 대한 탐구에 깊이를 더합니다.

데빌맨 크라이베이비에서 이원론적 개념의 진화

악마는 처음에는 인간의 감정이 결여된 채 문자 그대로 선과 악의 싸움을 벌이는 존재로 묘사됩니다.

하지만 이 작품은 이 이원론적 관점에 도전하여 현실의 복잡성을 드러내고 선과 악의 경계를 모호하게 만듭니다.

주인공 아키라는 악마와 인간의 본성을 결합하여 단순한 분류를 거부함으로써 이러한 도전을 구체화합니다.

데빌맨 크라이베이비의 성별과 악마 이분법

이 쇼는 모호한 퀴어 관계와 남자 주인공 아키라의 감정 표현을 탐구합니다.

또한 악마와 인간 사이의 경계를 모호하게 만들어 사회적으로 만들어진 이분법에 도전합니다.

이 시리즈는 악마가 감정이 없다는 주장과는 달리 악마도 사랑을 느낄 수 있다는 증거를 제시합니다.

데빌맨 크라이베이비에서 관계의 영향력

아키라의 죽음에 대한 사탄의 희생과 슬픔은 그의 캐릭터가 크게 진화했음을 보여줍니다.

이 쇼는 관객에게 라벨과 흑백 사고의 결과를 재고하도록 도전합니다.

데빌맨 크라이베이비는 미디어의 희생양 삼기, 위협의 식별, 선과 악의 개념 조작에 대한 어려운 질문을 제기합니다.